Job:03171 Title:Typography Referenced (Rockport)
Page: 177
ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b cdefghijklmnopqrstuvwxyz
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177
Typefaces and Specimens
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 177
Background Traits
Kabel fi rst appeared in , methodically drawn using many
of the geometric () traits that Futura () possessed: circles,
squares, and triangles. During the s (), it became syn-
onymous with the design aesthetic of the time, including Art
Deco () ornamentation and extravagance. Victor Caruso
redesigned Kabel for ; it became known as Cable in the
United States.
Kabel’s geometric properties get it easily confused with Futura.
However, its lowercase () b does not have a spur. The orig-
inal design of Kabel had a short x-height, making for long
ascenders like Futura, but I Kabel’s design possesses a
larger x-height, making the ascenders look shorter. And unlike
Futura, many of Kabel’s uppercase () letters do not sit fl ush
to the baseline or capline. Instead, there’s an angular cut to the
stems’ tops and bottoms.
Kabel
YEAR
ORIGINAL DESIGNERS
Rudolf Koch
CLASS
Geometric
A designer’s job will become even
more challenging as the quantity of
information and noise increases
during the twenty-fi rst century. Those
who possess a broad typographic
understanding will best meet the
communicative and creative challenge,
especially during a time when people
know the difference between one
font and another—and which ones
read better or worse with software’s
default 120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED KABEL ALPHABETS
Top to bottom: -point Kabel LT book, heavy, and black
EXAMPLE
-point Kabel LT
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typography, Referenced
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 178
Background Traits
Monotype Grotesque had been known as Grotesque during
its early release. For inspiration, Pierpont looked to other sans
serif fonts popular at the time, including Berthold’s Ideal.
Monotype Grotesque was one of the earliest sans serifs cut for
hot-metal machine typesetting.
Unlike Helvetica () and other Grotesque () sans serif fonts,
Monotype Grotesque capitals do not contain some bookish fea-
tures such as spurs. But it is light in color, making it suitable for
setting as book text. Many of its heavier weights, such as bold
and black, read well in display settings.
Monotype Grotesque
YEAR
ORIGINAL DESIGNERS
Frank Hinman Pierpont
CLASS
Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty- rst century.
Those who possess a broad
typographic understanding
will best meet the
communicative and creative
challenge, especially during
a time when people know
the difference between
one font and another—
and which ones read better
or worse with software’s
default 120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED MONOTYPE GROTESQUE ALPHABETS
Top to bottom: -point Monotype Grotesque regular, italic, and bold
EXAMPLE
-point Monotype Grotesque
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Job:03171 Title:Typography Referenced (Rockport)
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
a b c d efg hijklmnopqrstuvwxyz
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Typefaces and Specimens
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 179
Background Traits
Morris Fuller Benton () designed News Gothic for the Amer-
ican Type Founders, which issued regular, condensed, and
extra condensed variations, but neither bold nor italic versions.
It should come as no surprise that News Gothic was intended
for use in newspapers and advertising, not only because of
its name, but also because of its bold, strong appearance.
News Gothic owes a lot to Akzidenz Grotesk (). Both have
lighter stroke weights and a condensed appearance. But unlike
Akzidenz Grotesk, News Gothic has a two-storey g and its b, d,
p, and q use merely an oval with a straight line replacing one
side of the curve.
News Gothic
YEAR
ORIGINAL DESIGNERS
Morris Fuller Benton
CLASS
Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty- rst century.
Those who possess a broad
typographic understanding
will best meet the
communicative and creative
challenge, especially during
a time when people know
the di erence between
one font and another—and
which ones read better or
worse with software’s default
120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED NEWS GOTHIC ALPHABETS
Top to bottom: -point News Gothic regular, italic, and bold
EXAMPLE
-point News Gothic
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Page: 180
ABCDEFGHIJK LMNOPQRSTUVWXYZ
abc defghijklmnopqrstuvwxyz
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Typography, Referenced
Text
Job:03171 Title:Typography Referenced (Rockport)
Page: 180
Background Traits
As director of type development for Mergenthaler-Linotype
in the United States, Jackson Burke designed some of the fi rst
iterations of Trade Gothic in , and then developed alter-
nate weights and styles until . Unlike other sans serifs, it
lacks unifying characteristics across the family.
Trade Gothic has narrower letterforms than other sans serifs,
and this allows more text to be set across a measure. Like its
cousin News Gothic (), Trade Gothic has a staggered joint
where the arm of the K meets the leg. And the lower portion of
its c juts out slightly in front of the top terminal. Trade Gothic
has been used in advertising and, more recently, website
design along with serif text fonts, marrying classic with con-
temporary. The family isn’t as unifi ed as other Grotesques (),
and many of the diff erences between weight and width seem to
make the font appealing to designers.
Trade Gothic
YEAR
ORIGINAL DESIGNERS
Jackson Burke
CLASS
Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty-fi rst century.
Those who possess a broad
typographic understanding will
best meet the communicative
and creative challenge,
especially during a time when
people know the di erence
between one font and
another—and which ones read
better or worse with software’s
default 120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED TRADE GOTHIC ALPHABETS
Top to bottom: -point Trade Gothic Next Pro regular, italic, and bold
EXAMPLE
-point Trade Gothic Next Pro
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ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
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Typefaces and Specimens
Text
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Page: 181
Background Traits
Adrian Frutiger () completed Univers—originally called
Monde and predominantly known as a Swiss typeface—while
he lived in France and worked for the Deberny & Peignot
foundry. Frutiger employed a classifi cation system so designers
and composers could easily measure diff erences between one
style and the next across light, regular, bold, and heavy weights,
with odd numbers representing romans and even numbers
denoting italics.
The larger x-height of Univers gives it a taller appearance in
which lowercase () letters seem close in size to their upper-
case () peers. The numeric classifi cation system continues
to work well for designers, and its wide breadth of weights and
widths gives them a wealth of possibilities for setting display
() or text type ().
Univers
YEAR
ORIGINAL DESIGNERS
Adrian Frutiger
CLASS
Neo-Grotesque
A designer’s job will become
even more challenging as
the quantity of information
and noise increases during
the twenty-fi rst century.
Those who possess a broad
typographic understanding
will best meet the
communicative and creative
challenge, especially during
a time when people know
the difference between
one font and another—and
which ones read better
or worse with software’s
default 120-percent leading.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890
abcdefghijklmnopqrstuvwxyz
The quick brown fox jumped over the lazy dog.
SELECTED UNIVERS ALPHABETS
Top to bottom: -point Univers Roman, roman oblique, and bold
EXAMPLE
-point Univers
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